Harry Fordyce (Peter Cushing!) manages a London bank. His micro-managing and general fastidiousness put him at odds with his staff who he belittles every chance he gets.
“Smudges!”
When Colonel Gore Hepburn (Andre Morrell) from the bank’s insurance company arrives to inspect its security protocols, Fordyce sets out to impress him with his efficiency. The thing is, the colonel is not from the insurance company and he has a cunning plan.
Yes, THAT cunning!
Without giving the game away, I can say that CASH ON DEMAND’s director, Quentin Lawrence, knows how to build tension. What starts out as a slice-of-life drama about a tight-lipped bank manager abusing his staff switches quickly to a race against time to save a family. In the morning, Fordyce runs roughshod over his subordinates. In the afternoon, he scurries to save his family, his job, and his freedom. Writers David T. Chantler and Lewis Greifer adapted Jacques Gillies’ play for the big screen. That this film started as a play makes sense. It takes place in three sets, but could easily be done in two or even one. The excitement comes, not from action, but from acting and a terrific script.
“Where’s my stake?”
Cushing is brilliant as the mercurial Fordyce who finally feels what it’s like to be under the thumb of a person who has the power of life and death over him. His transition from haughty to harried develops by degrees and we see his metamorphosis in the few hours the film documents. Morrell’s Gore Hepburn is fabulous. He’s sublimely at home ordering Fordyce around and making points with the staff while his devious plan moves along swimmingly. What a wonderful pair to watch. Richard Vernon made an impression too. He plays Pearson, Fordyce’s number two who, because of a small error which was fixed quickly, might lose this position and any hope of finding another. The entire cast does a wonderful job.
“Did you steal that thumbtack?”
CASH ON DEMAND is another great Hammer non-horror. I know Hammer is better known for vampires and busty maidens, but as I watch these smaller, less lavish thrillers, I wonder why they didn’t make more. They’re wonderful. I’m going to be sorry when I’ve seen them all.
Prowler Needs a Jump 
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